Diseñando para niños

Me acaba de llegar por correo electrónico la ultima publicación periódica de Information & Design Newsletter (Octubre 14,2011) de Gerry Gaffney de Australia quien también colabora con el User Experience Podcast Es una publicación que trata de entrevistas, reseñas de libros y principios de UX experiencia de uso. Me llama la atención en particular el artículo de Diseñando para niños. que copio a continuación. 

Designing for Children

I was lucky enough to spend a lot of time with school-children as part of my work for the Department of Education in New South Wales, Australia.

My colleague, James Hunter, and I presented on the topic of designing for children at UX Australia. 

We put together a brief set of guidelines for designing for childrenOur presentation is also online on Slideshare.

Finalmente si alguien está interesado en contactarlo es una persona muy agradable,

Contact me me for help with user research and user experience design – whether for consulting or mentoring.


Contact Information 


+61 409 424 404 (mobile)

+61 3 9005 8206 (Melbourne)

+61 2 8005 8234 (Sydney)


Email Gerry Gaffney: gerry@infodesign.com.au

Twitter: @gerrygaffney


Alivio emocional a través de la música y el tacto.

Sentics: Emotional Healing Through Music and Touch


A sensory antidote to addiction and depression, or what artificial intelligence has to do with poetry.

In the late 1960s, as advances in neuroscience technology were making the brain knowable in entirely new ways and illuminating it as an input device, Austrian-born scientist and inventor Manfred Clynes became interested in its capacities as an output device. He began experimenting with the basic expressive time forms of the central nervous system, which he called “sentic forms,” and argued they were universal — something he proved by deriving sounds from people’s emotional expressions through touch and gesture, then playing these sounds to people of different cultures, who were able to correctly identify the original emotions the sounds were expressed.

Based on these findings, Clynes developed an application in which subjects used touch to express a sequence of emotions — neutrality, anger, hate, grief, love, sexual desire, joy, and reverence — through finger pressure. The 25-minute sequences, called sentic cycles, were based on a precise mathematical formula and resulted in subjects reporting calmness, energy, an alleviation of depression, and even a loosening of the grip of tobacco and alcohol addictions. Clynes used his research as evidence that that it was possible to counter a negative emotional state by inducing a rather rapid shift into a positive one, particularly showing that music was most powerful mechanism for inducing love, joy, and reverence.

How remarkable it would be if one could experience and express the spectrum of emotions embodied in music originating from oneself—without the crutch of a composer’s intercession, without being driven by the composer; and to do so moreover whenever we wish, not when circumstance may call them forth. This, indeed, has become possible through the development of sentic cycles.” ~ Manfred Clynes

In 1972, Clynes began distilling his theory into a book that took him four years to write. In 1976, he published Sentics: The Touch of the Emotions, in which he outlined his findings of emotional perception and response at the intersection of music, art and mathematics. (Also featured are a number of Clynes’ poems, some of which artificial intelligence pioneer Marvin Minsky quoted in his seminal 1986 book, The Society of Mind.) Blending clinical research, theory and philosophy, the book laid the foundations of the sentics field, insights from which have since seeped into everything from psychotherapy to addiction rehabilitation to education.


Changes in respiration and heart rate during a sentic cycle. Respiration accelerates during anger and hate. During grief the respiration has a gasping character with rest periods at the expiratory end of the cycle. Respiration slows during love, and speeds up markedly for sex. (Inspiration is downward in the figure.) During reverence there is a marked slowing down of respiration with resting phases at the inspiratory phases of the cycle (paralleling those


Perhaps the most important application and effect of sentic cycles lies in their ability to influence the urges and driving forces of the personality. The sense of calmness and satisfaction of being, as such, or the sensation of being emotionally drained, which occasionally replaces this, noticeably alters the dynamics of drives. One may observe the replacement of the neurotic anxious drive— the rigid drive toward self-imposed goals—by a creative drive coupled with joy in its exercise. This displacement of a drive whose satisfaction lies in a distant goal (which cannot be achieved in the present) by a creative drive whose exercise provides a continuous flow satisfaction coupled with joy) is a remarkable aspect of sentic cycles. It appears that needs for smoking and perhaps even drugs may be seriously altered through the use of sentic cycles.” ~ Manfred Clynes

A big thanks to reader Jeff Beddow for flagging Sentics in his comment on this recent piece about 7 essential books on music, emotion and the brain.

Brain Pickings has a free weekly newsletter and people say it’s cool. It comes out on Sundays and offers the week’s best articles. Here’s an example. Like? Sign up.


Fronteras. ¿Cómo saber si somos parte de un grupo?

Boundaries. How Do You Know You Are Part Of A Group?

Posted: 05 Oct 2011 01:51 AM PDT

How do yo know you are part of a group? And how do you know who are the other group members?

This seems like an obvious question. “Well. When you are assigned to the group.” “By looking at the organizational chart.”

Really? That’s it?

Forget formal declarations about authority, responsibility and who will pay your salary for a moment. Even if you are “formerly” assigned to a group, how does it feel to be in it? What is the difference between operating as one and feeling left out?

And what about groups that come into existence without anyone “declaring” who is a member or not? You know. Self-organizing groups.

Lori from Collective Self wrote some excellent posts about how you can recognize that you are part of a self-organizing group. For example:

As a group, we’re self-organizing when we:

  •  See ourselves in others and others in ourselves. Demonstrated, for example, by:
    • Group members are certain that there are no hidden agendas in the group
    • Role switching (people temporarily taking on and thinking from the perspective of each other’s roles) first within the group and then with some others outside the group
    • Role sharing (people moving back and forth between roles) first within the group and then with some others outside the group

This might seem like some theoretical exercise. But it isn’t. It is actually quite important. Your group members determine the culture. Your group members determine who may or may not help you out. Two can do more than one. But if you are “one”, you have to know who is the “other one” to make two. Hmmmm. I even I needed to read that last sentence twice. And I wrote it :)

So. We try it again.

How do you know you are part of a group?

“Because we sit in the same room.”
“Because we show up at the same meetings.”
“Because we hang out at the coffee corner at the same time.”
“Because if I change something, it effects their work.”
“Because when we talk, we immediately can finish each others sentences.”

Much better. I am even sure you can come up with a million other alternatives yourself.

If you can be a member of a group, it is also possible to be a non-member. Some people are “in”. Some are “out”. This is not about some high school popularity contest. It’s just … every group, including project teams, has boundaries. In the meaning of Johnson-Lenz“The functions of boundaries include defining group membership; delineating group identity; and marking group rhythms, beginnings, and endings.”

These “boundaries” help you to define if you are part of a group, or not. For example group rhythms. If we seem to have the same rhythms, same patterns in meeting each other, that can indicate we share a group. In the examples above: same meetings, same room and the coffee corner.


Boundaries. Important. Yes?


Dear leaders. Here are some new questions to add to your coaching toolbox:

  • Who do you consider the members of your team?
  • What is the difference between being among your team members or amongst others?
  • How do you recognize your team members?
  • How did you become a member of this group?
  • Why did you become a member of this group?
  • How do you think membership will end?
  • How are beginnings and endings of group membership marked?

This post is actually a result of the course I am now on after writing “Rhythms, Boundaries, Containers. Elements Of Social Systems.” earlier in the summer.

Bas de Baar helps people find ways to enjoy the diversity of human interaction in their projects and organizations so that they can get out of their own way and achieve their goals. – Boundaries. How Do You Know You Are Part Of A Group? is a post from: Project Shrink.